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SLAM Surveys Hip-Hop’s Global Impact — and St. Louis Expressions | Arts Stories & Interviews | St. Louis

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click to enlarge Courtesy the artist and Galerie Myrtis In her paintings Open (left) and Closed (right), Monica Ikegwu demonstrates the power of how one poses.
It all started with a back-to-school party in an unspectacular Bronx brownstone. DJ Kool Herc, also known as Clive Clampell, and his sister Cindy Campbell had a simple idea — earn some money for new clothes, according to a 2013 Paste Magazine story.
But as Herc played funk and soul tracks at that party in August 1973, something far larger was born: hip-hop. This month, seemingly the whole world is celebrating 50 years since that historic moment.
The Saint Louis Art Museum is no exception.
On Saturday, SLAM’s exhibit The Culture: Hip Hop and Contemporary Art in the 21st Century opens with a block party from noon to 5 p.m. outside the museum. The party — which includes a stage featuring St. Louis hip-hop artists such as Preacher in the Trap featuring Blvck Spvde & Tef Poe, Agile One and many more — is a callback to Herc’s revelry.
“In the five decades that followed, [hip-hop] has expanded out of a movement born out of the experiences of Black and Latinx youth in the Bronx with uniquely hyper-localized American roots to become an undeniable global force exerting influence on music, fashion, technology, the performing arts and, of course, contemporary visual arts,” said Min Jiing Kim, Barbara B. Taylor Director of SLAM, at a preview event on Thursday.
SLAM’s 130-object exhibit examines hip-hop’s impact. Co-organized with the Baltimore Museum of Art, The Culture was curated collaboratively by Asma Naeem, chief curator and interim co-director of the Baltimore Museum of Art; Gamynne Guillotte, chief education officer at the Baltimore Museum of Art; Hannah Klemm, associate curator of modern and contemporary art at SLAM; and Andréa Purnell, audience development manager at SLAM.
The show features artworks from everyone who’s anyone in the scene. That means pieces that have been influenced by hip-hop culture — like Hassan Hajjaj’s Cardi B Unity (which, yes, stars Cardi B) or Hank Willis Thomas’ Black Power print of diamond-encrusted fronts that literally spell out “Black Power” — as well as objects that are seamlessly a part of it, such as Kimora Lee Simmons’ Baby Phat tracksuit. There is plenty of local representation as well, with pieces from artists from St. Louis (keep reading for more details on that) and Baltimore.
Every SLAM exhibit features too much to touch on in one story, and The Culture is positively bursting at the seams. Instead, consider this a preview of three featured items that have strong St. Louis ties — and then get yourself to SLAM for a much deeper dive.
A Great Day in St. Louis by Adrian Octavius Walker, 2022; archival pigment print
click to enlarge Courtesy the artist In A Great Day in St. Louis, Adrian Octavius Walker celebrates St. Louis’ hip-hop artists while nodding to the 1998 Gordon Parks photograph A Great Day in Hip-Hop. Bookending The Culture are two photographs tied together by intention. One can’t discuss Adrian Octavius Walker’s A Great Day in St. Louis, which ends the show, without talking about the image that kicks it off: A Great Day in Hip-Hop, taken in 1998 by Gordon Parks. It’s an iconic photo of 177 rappers (everyone from the Wu-Tang Clan to Def-Jams founder Russell Simmons are in it) posed on a brownstone stoop that ran in XXL Magazine.
“It itself references the 1958 photograph A Great Day in Harlem by Art Kane, featuring jazz greats like Dizzy Gillespie,” Purnell said, explaining that co-curator Naeem had wondered what it might look like today.
Walker’s photograph is the answer to that. With the help of St. Louis musician Mvstermind, he gathered 116 St. Louis hip-hop artists on art hill at 3 p.m. on a Sunday to create his version — only he did his in color, to demonstrate St. Louis’ vibrancy.
Purnell says the photoshoot had the feel of a family reunion. “Many of them had never been in the same place at the same time and had seen each other on stage but never all together,” she said. There were hugs and tears.”
Walker, who grew up in the Jeff-Vander-Lou neighborhood but now lives in Chicago, works as an art director at Getty Images. His work has been exhibited widely, including at the National Portrait Gallery in Washington, D.C. and at the Luminary in St. Louis. Learn more at adrianowalker.com.
EXTENSIONS by Yvonne Osei, 2018, single-channel video click to enlarge Courtesy the artist and Bruno David Gallery Yvonne Osei’s EXTENSIONS shows a woman getting braid-in extensions to the point of absurdity. By the end, they drag on the ground behind her as she walks.
In Yvonne Osei’s video EXTENSIONS, a woman takes the practice of adding the eponymous hair product to the extreme. Osei filmed the piece in her hometown of Accra, Ghana. In it, a woman in a colorful dress sits as two other women braid in pigtails, adding hair extension after hair extension, way beyond the point of absurdity.
“She really captured in the videos performative culture, everyday culture of the tradition of hair braiding,” Kelmm said. “Throughout the video, the braids on the sitter’s head grow longer and longer and the camera pulls back. In the end, the braids are so long that they drag behind her as she walks through the city, with her hair literally stopping traffic.”
Osei graduated from Wash U’s MFA program in 2016 and was a Romare Bearden fellow at SLAM after school. Currently, she’s a curator-in-residence at the Center for Creative Arts, adjuncts at Webster and is represented by the Bruno David Gallery. Osei was one of the 2023 artists in the Great Rivers Biennial at the Contemporary Art Museum and has exhibited internationally. For more information, see brunodavidgallery.com/artists/58-yvonne-osei.
Arches & standards (Stockley ain’t the only one) by Kahlil Robert Irving, 2018/2020; glazed and unglazed ceramic, luster, found and personally constructed
click to enlarge Courtey the artist Kahlil Robert Irving’s Arches & standards (Stockley ain’t the only one) tackles the legacy of police violence, decorative arts and colonialism in St. Louis and beyond.
Kahlil Robert Irving’s sculptures meld together unlikely found and created objects to create unsettling chimeras that address the legacy of colonialism on culture. His piece in the exhibit, Arches & standards (Stockley ain’t the only one), references both St. Louis and national history. An actual silver arch rises above the rest of the sculpture.
“He’s really referencing also police violence, police brutality and traditions and histories of decorative arts and their connection to the legacies of colonialism,” Kelmm said. “It’s an amazing materially diverse piece that is worth delving into and spending some time with.”
Like Osei, Irving is a Wash U MFA graduate and a former CAM biennial honoree. He’s from San Diego and came to Missouri for his BFA studies at the Kansas City Art Institute. His work has been shown at the Museum of Modern Art, the Whitney Museum and more and is collected everywhere from the Kansas City Art Institute to the Riga Porcelain Museum in Latvia. For more information, see kahlilirving.com.
The SLAM Block Party takes place from noon to 5 p.m. on Saturday, August 19, in front of the museum. It’s free to attend, as is the exhibit on that day. For more details about the event or the exhibit, see slam.org/exhibitions/the-culture-hip-hop-and-contemporary-art-in-the-21st-century.
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Five Fun Facts About Busch Stadium You Didn’t Know

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When baseball fans roll into St. Louis, Busch Stadium often tops their must-see list. But this iconic ballpark has more hidden gems beyond baseball — and even beyond its souvenir shops and good hotdogs. Here’s a lineup of interesting facts that’ll make you the MVP in Busch Stadium trivia.
From Ballpark to Brewing Brand Deal
A 1900 postcard showing the Oyster House of Tony Faust, founder of the brewing firm | Courtesy Anheuser-Busch.
Busch Stadium has a past that’s more refreshing than a cold beer. Before becoming the shrine of Cardinals baseball, it was a multipurpose park called Sportsman”s Park in 1953. Anheuser-Busch, the brewing giant that owned the Cardinals for a time, purchased the stadium and called it Busch Stadium.
Talk about brewing a partnership with a home run!
Museum for Baseball Maniacs
One can explore unique stadium models, step into the broadcast booth to relive Cardinals’ historic moments and hold authentic bats from team legends in this Museum | Courtesy Cardinals Nation
The St. Louis Cardinals Hall of Fame and Museum is an 8,000-square-foot tribute to baseball’s rich history. Opening on the Cardinals’ 2014 Opening Day, this shrine charts the team’s stories from its 1882 beginnings when it was still called the American Association Browns. Here, you can revel in the team’s 11 World Series Championships and 19 pennants. And if you’re feeling adventurous, watch the game from the museum’s roof—the Hoffmann Brothers Rooftop—complete with a full-service bar and an all-you-can-eat menu. It’s like VIP seating, but with more hot dogs.
Even the Fans Break World Records
Busch Stadium is more than a ballpark; it’s a record-breaking arena.
In one memorable event, Nathan’s Famous set a Guinness World Record for the most selfies taken simultaneously—4,296, to be exact. Just imagine trying to squeeze all those selfies into a single frame!
Not to be outdone, Edward Jones and the Alzheimer’s Association formed the largest human image of a brain on the field in 2018. With 1,202 people, the image was like a giant, multi-colored brain freeze.
1,202 people gathered in centerfield at Busch Stadium to form a multi-coloured brain image | Screenshot from Guinness World Records.
The MLB Park in Your Backyard
Are you an avid Cardinals fan, thinking about living near the stadium? The cost of living in the area might be in your favor.
A 2017 study by Estately.com shows that media prices for homes around Busch Stadium is the fourth least expensive among around 26 major MLB stadiums. When San Francisco Giants fans have to pay up $1,197,000 that year for the same convenience of catching a game at a walking distance, Cardinal fans can snag real estate at only $184,900. If that’s not a walk-off win of a deal, we’re not sure what is.
Big Cleats to Fill as Busch Stadium Eyes Expansion
Those wanting to invest in property near Busch Stadium better get it while it’s still affordable. Rumor has it Busch Stadium could soon expand. That rumor has been going around for three decades since talks to raise public money allegedly started. We’ll believe it when we see it.
According to Cardinals owner Bill DeWitt III, plans are likely to mirror recent projects for the Milwaukee Brewers and Baltimore Orioles, with price tags hovering around $500 to $600 million. But the real investment is still up for debates pending a concrete cost-benefit analysis on the stadium’s surrounding area.
So the next time you kick back with a cold beer and catch a game at Busch Stadium, be in awe of the fact there’s more to the place than what meets the batter’s eye. Pitch these interesting facts at trivia night or to your Hinge date who’s new in town. Who knows – you might just win a home run beer.
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Nashville Police Officer Arrested for Appearing in Adult Video

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A Nashville police officer, Sean Herman, 33, has been arrested and charged with two counts of felony official misconduct after allegedly appearing in an adult video on OnlyFans while on duty. Herman was fired one day after detectives became aware of the video last month.
The video, titled “Can’t believe he didn’t arrest me,” shows Herman, participating in a mock traffic stop while in uniform, groping a woman’s breasts, and grabbing his genitals through his pants. The officer’s face is not visible, but his cruiser, patrol car, and Metro Nashville Police Department patch on his shoulder are clearly visible.
The Metro Nashville Police Department launched an investigation immediately upon discovering the video. The internal investigation determined Herman to be the officer appearing in the video. He was fired on May 9 and arrested on June 14, with a bond set at $3,000.
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Jane Smiley’s New Novel, Lucky, Draws on Her Charmed St. Louis Childhood

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Like any good St. Louisan, Jane Smiley has an opinion on the high school question.
“If you ask somebody in St. Louis, ‘Where did you go to high school’ — because each school is so unique, you do get a sense of what their life was like and where they live,” says the John Burroughs graduate. “Where are you from? What do you like? And, you know, the answer is always interesting.”
That’s pretty much what Jodie Rattler, the main character of Smiley’s latest novel, Lucky, thinks.
“School, in St. Louis, is a big question, especially high school,” Rattler muses toward the start of the story. “… My theory about this is not that the person who asks wants to judge you for your socioeconomic position, rather that he or she wants to imagine your neighborhood, since there are so many, and they are all different.”
This parallel thought pattern is even less of a coincidence than the author/subject relationship implies. Lucky, which Alfred A. Knopf published last month, is nominally the story of Jodie, a folk musician gone fairly big who hails from our fair town. But the book is more than just its plot: It’s an ode to St. Louis and an exploration of the life Jane Smiley might have lived — if only a few things were different.
The trail to Lucky started in 2019, when Smiley returned here for her 50th high school reunion and agreed to a local interview. The radio host asked why she’d never set a novel in St. Louis.
“I thought, ‘Boy, why haven’t I done that?'” Smiley remembers. “And so then I thought, ‘Well, maybe I should think about it.’ And I decided since I love music, and St. Louis is a great music town, that I would maybe do an alternative biography of myself if I had been a musician, and of course I would say where she went to [high] school. So that’s what got me started. And the more I got into it, the more I enjoyed it.” click to enlarge DEREK SHAPTON Jane Smiley rocketed to literary stardom after winning the Pulitzer Prize for fiction for A Thousand Acres. She now has more than 25 books to her name.
The Life Jane Smiley Didn’t Live
Jane Smiley has always felt really lucky.
First, there was her background: She grew up with a “very easygoing and fun family.” Growing up in Webster Groves, she enjoyed wandering through the adjacent neighborhoods and exploring how spaces that were so close together could have such different vibes.
Then there was her career, which kicked into gear when she was 42 with the publication of A Thousand Acres, a retelling of King Lear set on a farm in Iowa. It won the National Book Critics Circle Award for fiction in 1991 and the Pulitzer Prize for fiction in 1992. It became a movie and, two years ago, an opera. Since then, she’s been steadily publishing and now has more than 25 books to her name.
“I was lucky in the way that my career got started,” Smiley says. “It was lucky in a way that it continued. I was lucky to win the Pulitzer. And I really enjoyed that. I said, ‘OK, I want to write about someone who’s lucky, but I don’t want it to be me. Because I want to contemplate the idea of luck, and see how maybe it works for somebody else.'”
click to enlarge
Both the book, and Jodie’s good luck, start at Cahokia Downs in 1955. Jodie’s Uncle Drew, a father stand-in, takes her to the racetrack and has her select the numbers on a bet that turns his last $6 into $5,986. She gets $86 of the winnings in a roll of $2 bills.
Smiley, a horse lover throughout her life, used to love looking at the horses at the racetrack before she understood how “corrupt it is at work.” (She also reminisces about pony rides at the corner of Brentwood and Manchester across from St. Mary Magdalen Church and riding her horse at Otis Brown Stables.)
Unlike Smiley, Jodie is not a horse person. And at first, Jodie feels somewhat disconnected from her luck — it’s something other people tell her that she possesses. She’s lucky to live where she does. She’s lucky that her mom doesn’t make her clear her plate, that her uncle has a big house, that she gets into John Burroughs. Later, she begins to carry those bills around as a talisman.
“[I] made a vow never to spend that roll of two-dollar bills — that was where the luck lived,” Jodie thinks after a narrow miss with a tornado.
It’s John Burroughs that changes Jodie’s life, just as it did Smiley’s. But instead of falling in love with books in high school and becoming a writer, Jodie falls into music. She eventually gets into songwriting, penning tunes as a sophomore at Penn State that launch her career.
One of Jodie’s songs should instantly resonate for St. Louis readers.
“The third one was about an accident I heard had happened in St. Louis,” Jodie recalls in the book, “a car going off the bridge over the River des Peres, which may have once been a river but was now a sewer. My challenge was to make sense of the story while sticking in a bunch of odd St. Louis street names — Skinker, of course, DeBaliviere, Bompart, Chouteau, Vandeventer. The chorus was about Big Bend. The song made me cry, but I never sang it to anyone but myself.”
Throughout the book are Jodie’s lyrics, alongside the events that inspire them. Writing them was a new experience for Smiley, who found herself picking up a banjo gifted by an ex and strumming the few songs she’d managed to learn, as well as revisiting the popular music of the novel’s time — the Beatles (George is Smiley’s favorite), Janis Joplin and the Traveling Wilburys, along with Judy Collins, Joan Baez, Joni Mitchell, and Peter, Paul and Mary — basically “all the folk singers.”
“I really love music, and I do wish I’d managed to practice, which I was always a failure at,” Smiley says. “… I liked that they made up their own lyrics, and they made their own music, and I was impressed by that.”
Both Smiley and Jodie grew up in households replete with record players and music. It’s one of their great commonalities.
A great difference between the two? That would be sex. At one point, Jodie compares her body count, which she calls the “Jodie Club,” with a lover — 25 (rounded up, Jodie notes) to his 150.
“That was a lot of fun,” says Smiley. “She learns a lot from having those affairs, and she enjoys it. She’s careful. And I like the fact that she never gets married, and she doesn’t really have any regrets about that.” (Smiley has been married four times.) “In some sense, her musical career has made her want to explore those kinds of issues of love and connection and sex and the way guys are.”
You can tell Smiley had a good time writing this. After Jodie loses her virginity, she thinks, “The erection had turned into a rather cute thing that flopped to one side.”
“Oh, it was fun,” Smiley confirms. “Sometimes I would say, ‘OK, what can I have Jodie do next? What’s something completely different than what I did when I was her age?’ And then I’d have to think about that and try and come up with something that was actually interesting. I knew that she couldn’t do all the things that I had done, and she had to be kind of a different person than I was. And so I made her a little more independent, and a little more determined.”
click to enlarge VIA THE SCHOOL YEARBOOK Jane Smiley’s high school yearbook photo. In Lucky, Jodie recalls of a classmate, “The gawky girl had stuck her head into a basketball basket, taken hold of the rim, and her caption was, ‘They always have the tall girls guard the basket.'”
Lucky follows Jodie from childhood to into her late 60s. At several points in the novel, she crosses paths with a Burroughs classmate, identified only as the “gawky girl.” Jodie takes note of her former classmate, but she’s not recognized.
Toward the end, Jodie walks into Left Bank Books and sees the gawky girl’s name on the cover of a novel.
“Out of curiosity, I read a few things about the gawky girl. Apparently she really had been to Greenland, and the Pulitzer novel was based on King Lear, which I thought was weird, but I did remember that when we read King Lear in senior English, I hadn’t liked it,” Jodie thinks. “… I remembered walking past her in the front hall of the school, maybe a ways down from the front door. She was standing there smiling, her glasses sliding down her nose, and one of the guys in our class, one of the outgoing ones, not one of the math nerds that abounded, stopped and looked at her, and said, ‘You know, I would date you if you weren’t so tall.'”
Sound familiar? Does it help to know Smiley is 6’2″?
The doppelgangers meet face to face after their 50th Burroughs’ reunion at the Fox and Hounds bar at the Cheshire. To go into what happens next — it’s too much of a spoiler.
“In every book, there’s always a surprise,” Smiley says. click to enlarge ZACHARY LINHARES Smiley enjoys St. Louis place names, and DeBaliviere is one of many in the novel.
Jodie Rattler’s St. Louis
Lucky is a smorgasbord of familiar names and places for St. Louis readers, and picking them out will be a big part of the joy of the book for locals.
“I love many things about St. Louis — not exactly the humidity, but lots of other things,” Smiley says. “One of the things I love is how weird the street names are. So I had to put her in that house on Skinker, and I had to refer to a few other places that are kind of weird. I couldn’t fit them all in.
“But I love the way that those street names and St. Louis are a real mix, and some of them are true French street names. Some of them are true English street names. Like Grav-wah or Grav-whoy” — here she deploys first the French and then the St. Louis version of “Gravois” — “whatever you want to call it, and Clark. It’s just really interesting to look around there and sense all of the different cultures that lived there and went through there.”
Jodie grows up in a house on Skinker near Big Bend. It’s “a pale golden color, with the tile roof and the little balcony,” Smiley writes. Jodie walks through Forest Park and eats at Schneithorst’s. Her mother works at the Muny; she shops at Famous Barr. Her grandfather prefers the “golf course near our house on Skinker,” which must be the Forest Park course. Jodie goes to Cardinals games, the Saint Louis Zoo and Grant’s Farm. She visits and thinks about St. Louis’ parks such as Tilles and Babler. Even the county jail in Clayton gets a mention.
Of course, Chuck Berry shows up several times, first mentioned for getting “in trouble for doing something that I wouldn’t understand.” Later, as Jodie drives by his home, she drops some shade on the county along the way: “Aunt Louise knew where Phyllis Schlafly’s house was, so I drove past there — another reason not to choose Ladue,” she writes.
Jodie and the man who invented rock & roll later meet face-to-face briefly at a festival near San Jose, California. “My favorite parts were getting to walk up to Chuck Berry and say, ‘I’m from St. Louis, too. Skinker!’ and having him reply, ‘Cards, baby!’ and know that no one nearby knew what in the world we were talking about,” Jodie recalls.
Lucky feels like a bit of a members-only club, and here the club is St. Louis. There is barely a page that is without some kind of reference — to the point where one might wonder if non-locals can even keep up. (Though they should rest assured: It’s a good read.)
“I write more or less to do what I want to do, and so I wrote about the things that interested me,” Smiley says. And more than 50 years after she graduated high school and left Webster Groves for Iowa and (briefly) Iceland and California, where she lives today, St. Louis, clearly, qualifies.
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